Pope also remarks that "players have ever had a standard to themselves upon other principles than those of Aristotle," and Shakespeare's "wrong judgment as a poet" must be ascribed to his "right judgment as a player." It is evident, then, that Pope, like Rowe, had nothing favourable to say about Shakespeare's art in the management of his "fable," and if Heminge and Condell put in some act and scene divisions, "often where there is no pause in the action," Pope marks a change of scene at every removal of place, "which is more necessary in this author than in any other, because he shifts them more frequently." It was said of Pope's edition that he had rejected whatever he disliked, and thought more of amputation than cure. In the controversy which followed, Pope found his match in Theobald. This critic points out in his preface (1726) that an editor should be well versed in the history and manners of his author's age, "if he aim at doing him service." But Theobald, like Rowe, fails to understand Shakespeare's dramatic art, and compares him with a "corrupt classic" for whom classical remedies are necessary. Fortunately, Theobald confines his attention entirely to textual emendations, and, unlike Pope, he does not tamper with the text in order to make Shakespeare "speak better than the old copies have done." Johnson, in spite of his censure, honoured Theobald by borrowing largely from his labours in his own edition. Warburton (1747) defends Pope, and shrewdly remarks that Shakespeare's works "when they escaped the players did not fall into much better hands when they came amongst printers and booksellers," adding, "the truth is Shakespeare's condition was yet but ill-understood." But Warburton is wanting in historical knowledge when he writes, "The stubborn nonsense, with which he was incrusted, occasioned his lying long neglected amongst the common lumber of the stage." In fact, Warburton abuses Rowe's editing, yet none the less adopts his tone in disparaging "those impurities," the original copies. Dr. Johnson (1765) brings vigour and common sense to bear upon his editorial labours, without, however, betraying special sympathy with the poet's achievements, or any subtle comprehension of his art as a dramatist. But Johnson never forgets that Shakespeare wrote plays and not poems, and that he sold them to actors and not printers. His criticisms are those of a playgoer writing of plays, as if he had seen them acted at the theatre. At the same time he follows Rowe's lead in saying that Shakespeare's plots are so loosely constructed that not one play would now "be heard to the conclusion," and similarly with Rowe, he generalizes as to the text being vitiated "by the blunders of the penman, or changed by the affectation of the players." About the division into acts and scenes, he writes: